One of the first things I noticed about Perry’s guitar building talents was his ability to correct inherent shortcomings in classic designs while leaving each instrument’s performance undiminished, and usually enhanced.
While I have been a 7 string player since 1994, the GG7 is only my second 7 string guitar. My original multi-colour swirl Ibanez UV777 was my first, and has remained my 7 of choice until now. It’s a remarkable instrument so I saw no reason to change, although I played as many as I could get my hands on to see what was around. There were a few things that I noticed about 7 strings - firstly, that it was difficult to get a distinct tone out of the low B string unless you used a gauge similar to a tow rope. Secondly, that intonation could be a problem for the seventh string. I got around this by simply tuning my 7th string a touch flat. I actually added to my own problem by using a relatively light low B (.052).

Enter the GG7. Perry is such a smartass - one of the first things I notice is the clarity of the low B string. The guitar is strung .009 - .052 as per my specs, but the bass end response of the whole guitar is tight and punchy. When I play a few chord riffs, the balance across the strings - all 7 of them - is flawless. Like I said - smartass.
The feel of the neck itself is amazing - we based the feel on my UV777, and took it from there. The 7 neck has the playability of a very good 6, and the fretboard binding/expert fret dressing make it feel like an old friend. The tension is firm enough to give the strings some snap, but with enough ‘give’ to enable some of my favourite weird noises to be produced from directly (or indirectly) abusing the floating tremolo system. Even the extra light .052 low B string was roaring, snarling and squealing with the best of them, and the intonation is perfect on all strings.
Now that I think about it, making my wimpy low B sound great just corrected an inherent shortcoming in my design, as well as most 7 strings... I don’t know how comfortable I am with that, but hey...

The body lines are classic, and the subtle combination of the Tiger Myrtle veneer and the transparent deep blue finish worked better than I thought. The heel joint allows unimpaired access to all notes, and the response of the Floyd Rose is everything I need - it makes strange stuff happen, and it stays in tune. This guitar, by the way, while being a bolt-on neck job, has the sustain of a set-neck or a neck-through guitar. Yes, on the low B as well. I put this down to the exactness of the neck/body fit. It is that good that there is very little to impede the vibrations traveling through the join. Bloody marvellous, that.
I found myself ripping through tunes I normally only played on my 6-strings and being amazed at how comfortable it all felt. In the immortal words of Keanu Reeves - Woah!

Pez blew me away with the GG6, and he's done it again. I love the GG7.

Graham Greene